I've been meaning to post this recording for a while. Nwanyi Ma Obi Diya (Onyeoma C.Y. Records CYLP 016, 1984) by the Obi Wuru Otu Dance Group of Ihiagwa-Owerri is guaranteed to fill the dance-floor at any Igbo party it's played.
The vocal stylings of Rose Nzuruike (above) were what made Nwanyi Ma Obi Diya stand out amid a torrent of similar releases during the '80s, and what sends Igbos, and especially Owerri indigenes, into a swoon. Which is not to short-change the talents of the group itself (below) and especially its leader, Madam Maria Anokwuru. Released on an obscure Onitsha record label, it became one of the biggest-selling Igbo records of all time.
The title tune, opening up the medley on Side One of the album, means "A Woman That Knows her Husband's Heart." The ladies sing that good behavior is better than beauty and that a woman who knows her husband's heart will work with him when times are tough. "Ego Kirikiri" literally means rattling money and refers to the olden days when commerce was conducted with cowrie shells. The group sings "Igbo je akpo ya ojo mma - Igbos called it good money" and "Owerri nnu ahuna onwu ozigbo mmadu bara uba - Owerri, you see that not everyone was rich." Furthermore, "Onye ogazirila nya nwe mmeri - If you are rich you win." Side One concludes with a paean to Chukwuemeka Odumegwu Ojukwu, the leader of the separatist state of Biafra, who was pardoned by Nigeria's president at the time, Shehu Shagari, and allowed to return to Nigeria in 1980. The group welcomes Ojukwu back to the land of his birth and sing that they are overjoyed at his return:
Obi Wuru Otu Dance Group of Ihiagwa-Owerri - Nwanyi Ma Obi Diya/Ego Kirikiri (Cowries)/Onye Ije Nno-Ezennadi
On Side Two, the group sing that they are called Obi Wuru Otu - "One Heart for All." They entreat everyone to be careful, because God's way is where humans prove their value. "Ezuru Ezu Baa? Olu - Is everyone rich? No." "Omumu si na Chukwu - To have children is a gift from God." "Ochu Okuko Nwe Ada" is a typical Igbo parable. The lyrics explain that a person who chases a chicken will always fall but the chicken will never fall. If you plot against an innocent person you'll hurt yourself in the end. "Nwa nkpe ya na Eze gbaru mkpe, nwa mkpe atagbuela onye ya na afufu - If a widow gets into a conflict with a King, she will suffer much." The song calls on the Messiah, the one who made a blind person to see and a cripple to walk. Finally, the song "Elu Uwa Were Obi Oma" calls on the people of the world to be kind to get their just rewards:
Obi Wuru Otu Dance Group of Ihiagwa-Owerri - Olum Ado Ogu-Ezuruezuba/Ochu Okuko Nwe Ada/Elu Uwa Were Obi Oma-AFA Nna Na Nwa
Many thanks to my wife Priscilla for translating the lyrics of this record. Download Nwanyi Ma Obi Diya, complete with scans of the album sleeve, here. I have a couple more albums by the Obi Wuru Otu Dance Group, and will probably post them in the future.
Sunday, January 24, 2010
Saturday, January 16, 2010
We were shopping on Nnamdi Azikiwe St. in central Lagos when we came across a fascinating sight: hundreds of men were prostrate and barefoot in the street, while overhead a speaker blared:
"The Muslim people are praying," my brother-in-law told me. "Look at them with their faces in the dirt. And these are the people who rule over us." Such was my introduction to Friday prayers at the Central Mosque in Lagos (right), and to the complex subject of ethnic and religious power relations in Nigeria.
Ash-had anna lah ilaha illallah
Ash-hadu anna Muħammadar rasulullah
Hayya 'ala 'l-falah
La ilaha illallah
Across from the mosque a stall was selling pirated pornographic videotapes with covers that left nothing to the imagination, while shoppers went about their business. The loudspeakers amplified every bit of static in the recorded call to prayer, which echoed among the surrounding buildings. The atmosphere was strange and other-worldly, to my eyes and ears at least. I've believed in no deity since I was twelve, but the spectacle stirred in me trembling feelings of awe and wonderment. For just a minute I was tempted to remove my shoes and join the believers in their devotions.
Needless to say, I don't share the casual bigotry reflected in my brother-in-law's remarks, but they speak to the fact that Nigeria is a nation increasingly divided along ethnic, political and religious lines. Northern Nigeria is predominantly Muslim while the southeast of the country is almost exclusively Christian. Other areas, such as the Yoruba region around Lagos, are more complicated in their religious allegiances. About half of the Yoruba are thought to follow Islam while the remainder adhere to various Christian denominations and traditional religion.
Since Independence Nigerian rulers have tended to be Northerners, hence the resentment of "Northern Muslim domination," and at times this friction has given way to violence, notably during the Biafran War of 1967-70 and recent conflicts over the introduction of sharia law in some northern states. Islam came to Yorubaland by conversion rather than through war, and relations among the various religious groups there have been mostly peaceful.
Among Yoruba Muslims in the 19th Century were a group of repatriated slaves from Brazil who have played an important role in the economy and politics of Lagos. Among the distinctive buildings they erected in the city, all of them now in disrepair, is the Shitta Mosque on Martins St. I took this picture of it during my 1994 visit:
Among various styles of Yoruba music which have their roots in the Muslim community are waka, performed by female singers, and apala and fuji, performed by men. While these styles derive from music performed during Muslim holidays such as Ramadan, they have tended to become secularized over time.
I picked up the LP Asalamu Alaekumu (Leader Records 82, 1992) by Sister Riskat Lawal and the Aaqibat Lil-Mutaqeen Society Group during my 1995 visit to Nigeria, and I'm not sure where to situate it within the spectrum of Yoruba Islamic percussion styles. This is clearly a religious recording and not the usual exercise in praise-singing (rather, it praises God rather than rich and powerful individuals), nor is it unique. I take it there are hundreds of recordings in this genre, but I'm not aware that they have a specific label.
No matter what you call it, I'm sure you will find Asalamu Alaekumu a first-rate example of Yoruba percussion music.
Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - Asalamu Alaekumu
Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - Allahu Allahu / Eyin Anobi / Ayonfe Oluwa
Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - E Gboro Oluwa / Omo Iya Ni Wa / Oro Shekh Adam-Oba To Ni Ike Lodo / Islam Esin Ola
Download Asalamu Alaekumu as a zipped file here.
Sunday, December 6, 2009
I didn't know what to expect when I posted a recording of Fela Sowande's African Suite a couple of weeks ago, but the reaction has been surprisingly positive, not only in comments and emails but in the the number of downloads.
I say "surprisingly positive" because I didn't know what people would make of this effort to fuse African traditional music with European classical forms. Turns out that African "Art Music" isn't the obscure back ally that I thought it was. Not only is there a lot of it out there, it is the subject of a surprising amount of scholarship. Andreas Wetter directs us to two articles on his website Ntama, and the internet offers up considerable analysis for those who are interested.
Reader/listener William Matczynski has passed on a couple of tunes that were direct influences on passages in African Suite. "Akuko Nu Bonto," a Fanti-language song by George Wiliams Aingo from Ghana bears a sharp resemblence to "Akinla" in the suite (and, I might add, to the classic highlife song "Saturday Night," which has been recorded by just about everybody). This version of the song was recorded in London in 1927 by Zonophone Records and distributed all across West Africa. It is included on the fascinating release Living is Hard: West African Music in Britain 1927-29 (Honest Jon's Records HJRCD 33). We can't tell you anything about Mr. Aingo but the CD Roots of Highlife (Heritage Records, 1992), now long out of print, collects a number of his recordings.
George Williams Aingo - Akuko Nu Bonto
Ghanaian composer Ephraim Kwaku Amu was a trail-blazer in the field of transcription of traditional African songs. He was born in 1899 and began teaching in 1920, contemporaneously with his musical education under the Rev. Allotey-Pappoe.
Soon he had composed a number of popular songs, including "Mawo do na Yesu" ("I Shall Work for Jesus"), "Onipa," "Da Wo So" and "Yen Ara Asase Ni." His cultural nationalist tendencies led to a break with the Church, and he left for London in 1937 to study at the Royal College of Music. It was here that he learned to fuse African polyphony with European forms of music. In the late '60s Amu was the director of the University of Ghana Chorus, which recorded the LP Ghana Asuafo Reto Dwom (Ghanaian Students Sing) for Afro Request Records (SPLP 5027). Amu's composition "Ennye Ye Angye Da," included on the album, was the basis for "Joyful Day" in Sowande's African Suite. From the liner notes, the lyrics are as follows:
University of Ghana Chorus - Ennye Ye Angye Da
This is a joyful day.
Why be sad, when all around is happy and merry?
Work and merrymaking alternate each other to make life enjoyable.
We pledge to engage in both, work and merrymaking, each in its appropriate time to make life happy and merry.
Miles Cleret of Soundway Records asked my wife Priscilla to translate some Igbo-language songs for inclusion on the upcoming Volume 2 of the amazing Nigeria Special. Interestingly, in light of our subject matter, one of those songs, "Egwu Umuagboho" ("The Young Maidens' Dance") is by Joy Nwosu Lo-Bamijoko (above), one of the leading lights of Nigerian Art Music. Ms. Nwosu was born in 1940 and has lived in the United States since 1996. In 1961 she journeyed to Rome on an Eastern Nigerian Government scholarship with the ambition of becoming an opera singer. Here she studied in several conservatories for ten years. Returning to Nigeria in 1972, she became Producer of Musical Programs for the Nigerian Broadcasting Corporation and became a Musical Lecturer at the University of Lagos in 1975, holding a number of posts in that institution until 1992.
Ms. Nwosu has recorded several LPs in Nigeria and is responsible for numerous popular compositions. "Egwu Umuagboho," recorded with Dan Satch Joseph's band, is quite unusual for an Igbo song, reflecting her operatic training. It is based on the traditional girls' dance of Nwosu's Enugu region. Lyrically it is more of a "tone poem" than a straight narrative, adress to a girl named Agnes: "Beautiful Agnes. . . what slight is done to another person? . . . peace, peace Udoegwu. . . anger and quarrel. . . Agnes, it's me talking, Agnes, it's me calling:
Joy Nwosu & Dan Satch Joseph - Egwu Umuagboho
"Egwu Umuagboho" is unavailable for download at this time. Many thanks again to William Matczynski and to Priscilla. The beaded artwork at the top of this post is by Nigerian artist Jumah Buraimoh. You can learn more about him here.
Thursday, November 19, 2009
Over the years there have been efforts to adapt African music to Western "classical" instrumentation and forms. One of the countries where this has been most successful is Nigeria, where this genre is called "Art Music."
In his book The World of African Music (Pluto Press/Research Associates, 1992), Ronnie Graham briefly discusses Nigerian Art Music and regrets that it hasn't gotten more attention. Among the composers Graham cites are Lazarus Ekwueme, Samuel Akpabot and Josiah Ransome-Kuti, a pastor and choral music composer who was the grandfather of Fela Anikulapo Kuti.
I've had little exposure to Nigerian Art Music. During a visit to Lagos in 1994, I came across a stack of LPs in the Jazz Hole, but passed them up (they were rather pricey), something I now regret. Recently, however, I was going through a box of my late father's things, and found a recording of African Suite (London LPS 426, 1951), probably the best-known composition of
Fela Sowande, left, considered by many the father of Nigerian Art Music.
Olufela Sowande was born on May 29, 1905, in Abeokuta, a historically important city that was the capital of the Egba United Government, an independent entity which became part of the British Protectorate of Nigeria in 1914. Sowande was introduced by his father, an Anglican priest, to choral music and was an accomplished pianist by the time he graduated from Kings College in Lagos. Exposure to jazz broadcasts from abroad led him to found the Triumph Dance Club Orchestra in the early 1930s.
During his studies in London to become a civil engineer, Sowande supported himself as a jazz musician, befriending a number of African American musicians in the process, notably Paul Robeson and Fats Waller. In 1940 he performed his own compositions on the BBC Africa Service and later served as Music Director of the Colonial Film Unit.
African Suite was recorded and released by Decca Records in the UK in 1951. This is apparently the same version, performed by the New Symphony Orchestra and conducted by Trevor Harvey, that I discovered in my father's posessions. The liner notes of a later recording state:
The African Suite, written in 1944, combines well-known West African musics with European forces and methods. For the opening movement, "Joyful Day," Sowande uses a melody written by Ghanaian composer Ephrain Amu, as he does in the fourth movement, "Onipe." In "Nostalgia," Sowande composes a traditional slow movement to express his nostalgia for the homeland (in itself a rather European idea). At the centre of the work is a restive "Lullaby," based on a folk original.Despite working in a "Western" musical idiom, Sowande was very much a cultural nationalist and composed his last major work, Nigerian Folk Symphony, to mark his homeland's independence from Britain in 1960. However, Bode Omojola writes in his 1995 book Nigerian Art Music that:
The finale of the Suite, "Akinla," traces a very singular musical history. It began as a popular Highlife tune - Highlife being a pungent, 20th-century style, combining colonial Western military and popular music with West African elements and a history of its own. Sowande then featured it as a cornerstone of his "argument" that West African music could be heard on European terms: the African Suite was originally broadcast by the BBC to the British colonies in Africa. Years later, in another colony far away, the sturdy Highlife dance tune became famous as the theme song of the long-running CBC Radio programme "Gilmour's Albums", a typically idiosyncratic choice of the host, Clyde Gilmour.
He believed in the philosophy of cultural reciprocity and argued against what he called "apartheid in art." According to him: "We are not prepared to submit to the doctrine of apartheid in art by which a musician is expected to work only within the limits of his traditional forms of music." He therefore warned against: "uncontrolled nationalism in which case nationals of any one country may forget that they are all members of one human family with other nationals."Following a long and fruitful career composing and teaching at Princeton, the University of Ibadan, Howard University and the University of Pittsburgh, Sowande died of a stroke in Ravenna, Ohio on March 13, 1987.
I confess that I'm not in a position to evaluate African Suite as a classical music composition, although it's certainly pleasant enough. The liner notes by Sowande (below, click to enlarge) shed some light on the thinking and influences behind the piece. I would be interested to hear from readers and listeners who have more personal knowledge of the folk tunes that were incorporated into the composition. African Suite is an illustration of the many varied forms that "African music" takes. Enjoy!
The New Symphony Orchestra - Joyful Day
The New Symphony Orchestra - Nostalgia
The New Symphony Orchestra - Onipe
The New Symphony Orchestra - Lullaby
The New Symphony Orchestra - Akinla
African Suite can be downloaded as a zipped file here.
Saturday, November 7, 2009
In 1971, after several years of musical experimentation following the breakup of the super-group Cream, British drummer Ginger Baker made his way to Lagos, Nigeria, where he helped set up EMI's new 16-track recording studio. It was here that Baker re-united with his friend Fela Anikulapo Kuti (then known as Fela Ransome-Kuti) and recorded Stratavarious (Atco SD 7013), one of the first collaborations between an African musician and a Western rock star.
To the best of my knowledge, Stratavarious has been out of print ever since it was released in 1972 and consigned to oblivion shortly thereafter, although one or two cuts from it may have been included in compilations. It is very much Ginger Baker's "thing," although Fela plays an important role on several tracks. Also present is Fela's American girlfriend Sandra Izidore (credited as "Sandra Danielle").
Strativarious is a fascinating look at a magic time when rock, jazz and Afrobeat were taking their first tentative steps toward each other, and a harbinger of fusions to come. It certainly deserves more attention than it's gotten. Like the recordings featured in the last two posts, Stratavarious was originally posted on Uchenna Ikonne's With Comb & Razor blog.
Fela and Sandra Izidore take center stage on Side 1 of Stratavarious. Izidore provides vocals on "Ariwo," an adaptation of a Yoruba folk tune, and Fela sings lead on "Tiwa," with Sandra included in the backup chorus. Fela plays keyboard on both tunes:
Ginger Baker - Ariwo
Ginger Baker - Tiwa
Fela's keyboard work also features on the next two tracks. Both are notable also for the lead guitar work of Bobby Tench (here credited as "Bobby Gass"), who had previously played with the Jeff Beck Group:
Ginger Baker - Something Nice
Ginger Baker - Ju Ju
Fela Ransome-Kuti plays no role in "Blood Brothers 69" or "Coda." "Blood Brothers" was apparently recorded in London in 1969, a collaboration between Baker and renowned Ghanaian percussionist Guy Warren, later known as Kofi Ghanaba:
Ginger Baker & Guy Warren - Blood Brothers 69
Ginger Baker - Coda
Stratavarious can be downloaded as a zipped file here.
Stratavarious was by no means Ginger Baker's first experiment with African music. Not only had he previously recorded Fela Ransome-Kuti & the Africa '70 with Ginger Baker Live! (Signpost SP 8401, 1971), but his two LPs with Ginger Baker's Air Force had a definite African "feel," notably this tune from their first album (Atco SD 2-703, 1970, right). Compare it with "Ariwo," above:
Ginger Baker's Air Force - Aiko Biaye
This series of posts was occasioned by the recent announcement that Knitting Factory Records plans to reissue the "complete" Fela discography, although as I pointed out here, there are a few titles missing. In addition to Stratavarious, Perambulator and I Go Shout Plenty!!! the 1985 Bill Laswell "remix" version of Army Arrangement (Celluloid CELL 6109) is long out of print with no plans for reissue (it was released while Fela was in prison and he is said to have hated it). Toshiya Endo's Fela discography lists a number of other tunes that have never been released in any form. Notably, Knitting Factory plans to release the "entire" catalog of recordings Fela made with the Koola Lobitos in the 1960s. This is good news indeed.
Monday, November 2, 2009
Here's another Fela rarity for your musical enjoyment: The Afrodisia disc I Go Shout Plenty!! (DWAPS 2251), released in 1986 but apparently recorded earlier. Like Perambulator, featured in my last post, I made this available to Uchenna Ikonne's With Comb and Razor blog a couple of years ago, and as it is no longer online, I'm making it available again.
According to Toshiya Endo, Side A ("I Go Shout Plenty") was recorded in 1977 as DWAPS 2038 but never released (the B Side was to be "Frustration of my Lady" or "Frustration," which later became the B Side of Perambulator).
Side B, "Why Black Man Dey Suffer," was also recorded in 1977 as the A Side of DWAPS 2036 (Side B was to be a song titled "Male," which I don't believe has ever been made public), but also not released. This is a different version of the tune of the same name that was released as African Songs AS001 (and recently reissued on CD) in 1971 (that version features Ginger Baker).
No personnel listed, but I wouldn't be surprised if Lester Bowie played on these tunes also. In fact, I wouldn't be surprised if these tracks were recorded in the same set of sessions as "Perambulator" and "Frustration." These aren't really primo Fela tunes, and he is said not to have approved their release. I suspect that in 1986, however, shortly after the Black President was let out of prison, Afrodisia Records thought it could make a few Naira off of the attendant publicity and put them out.
Fela Anikulapo-Kuti & Afrika '70 - I Go Shout Plenty
Fela Anikulapo-Kuti & Afrika '70 - Why Black Man Dey Suffer
You can download I Go Shout Plenty!!! as a zipped file here. In my next post I'll be discussing Ginger Baker's LP Stratavarious, recorded with Fela in the early '70s.
Sunday, November 1, 2009
By way of Undercover Black Man I learn that Knitting Factory Records intends to remaster and reissue the "entire catalog" of Nigeria's late Afrobeat King Fela Anikulapo-Kuti in the next 18 months.
I'm wondering what the difference is between this project and the extensive Fela reissue that saw the light of day about 10 years ago. Not that I'm complaining, of course, but I can think of several Fela pressings that are not among the "entire catalog" of 45 recordings listed for reissue on the Knitting Factory website. A few years ago, before Likembe got started, I made these available to Uchenna Ikonne to post on his With Comb and Razor blog, and as these are no longer online, it seemed like a good idea to put them out there again.
Perambulator (Lagos International Records LIR 6) was released in 1983, following a rather fallow period in Fela's career, and just before the jailing on trumped-up charges that would bring him back to the world's attention. "Perambulator," the song, was apparently recorded a number of years earlier. Toshiya Endo writes in his Fela discography that it was the B side of the French issue of Shuffering and Shmiling (Barclay 829 710-1) in 1978 while "Frustration" was recorded as "Frustration of My Lady" in 1977 as the B side of an Afrodisia LP that was never released.
If you look closely at the credits on the back of Perambulator you'll see Lester Bowie credited as a "guest artist" (I think that's his trumpet solo about 6 minutes into "Frustration"). Bowie lived with Fela in Lagos for three months in 1977. A co-founder of the Art Ensemble of Chicago, he was also married for a time to Fontella Bass, who did the awesome 1965 R&B hit "Rescue Me." So contrary to the record cover and label, I don't think Perambulator is a "true" Egypt '80 record, as it was recorded several years earlier, when Fela's band was still called Afrika '70. The record was not included in the "official" Fela CD reissue of the late '90s, although it did come out combined with Original Sufferhead (Lagos International Records 2, 1981) on a CD in Japan in 1998, a pressing that is no longer available.
As to why Perambulator is not considered part of Fela's "official" canon, I suspect it was an unauthorized release. While it may be sub rosa it is certainly not sub-standard. "Frustration" in particular is a killer track. Enjoy!
Fela Anikulapo-Kuti & Afrika '70 - Perambulator
Fela Anikulapo-Kuti & Afrika '70 - Frustration
You can download Perambulator as a zipped file here. In my next two posts I'll discuss two more "unknown" Fela releases.
Saturday, October 17, 2009
How to explain the dire state of the Nigerian music scene? Judging by what's being spun at parties in Milwaukee these days, it's beset by a plague of cheapo synthesizers and ticky-tacky drum machines, and the less said about the derivative sludge known as "Naija Hip-Hop" the better!
The trend toward artifice and away from artistry is well exemplified by two Igbo musicians, Sunny Bobo and Eke Chima, whose recordings - copied, pirated and distributed from hand to hand - have been ever-present in the Igbo diaspora the last few years. Both singers are said to be masters of the Owerri dialect, which may well be, but judging by their recordings, Old Skool, Obareze, and the many sequels, one can't help but feel sadness at the decline of that city's music scene since the glory days of the Oriental Brothers and their colleagues. I suppose economics are behind the sparse production values of these releases, but it's a regrettable situation still.
Sunny Bobo burst upon the scene a few years ago with Old Skool, and the sequels have followed fast and furious. The first volume of Old Skool reworks a number of classic songs from the Golden Age of Nigerian highlife. In typical Igbo fashion, Bobo sings that a meeting of the minds works best with one's own siblings. He describes a problem he is having with one of his kindred. He goes to the market, or public square ("nkworji") to settle the problem.
In "Willie Willie," a rework of the Peacocks' "Mary Meriamam," he sings about a beautiful girl named Mary, with whom he is quite infatuated. The main theme of the song is to not lose your head: "Elewe ukwu egbuo ewu - look at nyash kill a goat." In other words, don't be so crazy looking at your love's behind that you will do anything for her. Sunny recounts that he and Mary were wed, but that things haven't really worked out. He asks his brothers, "What am I going to do? Love has wounded me!"
A remake of Rex Lawson's classic "Love Adure" keeps things moving. Bobo sings, "Owerri land, please forgive my sins, because love has destroyed me. I am mesmerized by Adure's beauty. O tukwusa m'ukwu odika pillow. O tukwasa m'ishi odika pillow. When Adure places her leg on me it is like a pillow. When Adure places her head on me it is like a pillow." He then calls to an old girlfriend whom he has rejected for Adure, "Rosanna, please forgive me."
"Kinkana," another old song by the Peacocks, refers to native gin, which unlike palm wine, doesn't go bad: "Kinkana no dey sour." Here the singer is proclaiming that, unlike some flashier fellows with their money and fancy clothes, he is for real. There is a reference to Osadebe's classic song "Baby Kwanangida": "Kwanangida no go marry."
"Echendu" descibes a man who goes on a journey and doesn't come back: "Please come home. My heart is broken by your loss." "Bottom Belle," the final song in the Old Skool medley, is a classic tune from the early days of Nigerian independence.
Sunny Bobo - Nkworji-Willie Willie-Love Adure-Kinkana-Echendu-Bottom Belle
Eke Chima's offering here is similarly "Owerri-centric." As this is from a copied CD-R I'm not sure of the exact title of the medley or which CD it is taken from, only that it is from one of his numerous Obareze recordings. Chima sings that people say they don't like Owerri, and in rebuttal offers the names of many prominent Owerri families and individuals: "Ole nde onwe Owerri? Who are Owerri people?," naming among others the Amanzes, the Njokus, Chief Onukaogu and Headmaster Boniface Oha.
He then sings that someday everybody will account for their behavior in life: "Eshi ahu omenjo ga ahu njo ya, omenma ga ahu nma ya. The sinner will see his sins and the good person will see the good he has done. Ole onye ozuru oke? Who on this Earth will say that everything is complete for him?" He then calls out to a friend, "Ahu shiele m'anya - I have seen many troubles." Chima admonishes those who have taken a child's thing to raise their hand and give it back. In other words, don't mistreat another person, especially the helpless. He states once again that all will account some day for how they lived on Earth.
Family relations are a prominent theme in Igbo music. Chima asks if a person doesn't have kin by the same mother (this is presumably referring to relations within a polygamous household) will he kill himself? Of course not. He states that since he has no other siblings by his mother he works very hard and hopes that God will be there for him: "Ebe mu onwehu onye inye aka, agam ime uwam nkpo ole."
Eke Chima & his New Generation Band - Owerri
In the interests of fairness I should present evidence that things may not be so dire for Nigerian music after all: two artists, both scions of musical families, who would seem to refute my thesis that Igbo highlife is on its deathbed, if not already departed. Emperor Teddy Obinna is billed as "Junior Warrior," but he's actually the half-brother of Owerri's favorite son, the late Christogonous Ezebuiro Obinna, better known as Warrior. Ogidi's Amobi Richard Onyenze is the nephew of highlife legend Stehen Osita Osadebe, who passed away in 2007.
Obinna not only has taken up his brother's legacy, but in the CD Uwa Shekiga e Shekiga (C. Meks Music CMS 114, 2004) takes it in bold new directions, incorporating elements of Congo music to great effect. The title song ("The World is Very Shaky") takes up current events, advising that because of the world's instability, everybody should do their best. He sings that he is doing all he can for his family, but that if they are going to be irresponsible and not do for themselves in return, it's not his problem ("Onye zuzuo n'elu uwu ya aka ya aka - if you are stupid in this world it is your own fault.") He says that even in America, people are afraid because of Osama Bin Laden ("Osama bin Bomb Bomb") and mentions the war in "Iraqi land." Even old women have confirmed that the world is not as it used to be. Obinna calls on Nigeria's leaders to help make things better:
Emeror Teddy Obinna - Uwa Shekiga e Shekiga
The Emperor seems to spend a lot of time outside of Nigeria performing for the Igbo diaspora. He certainly has a feeling for their problems and concerns. In "Onye Nchem" he decries lazy Nigerians who take advantage of their hard-working relatives abroad. The song itself is about God's concern for the world. Obinna sings that without God's protection all of the guns and all of the armies in the world are useless. All of the people who bear grudges need God's blessing because he will judge them: "Let the Lord not protect an evil plotter." The chorus is "Make sure you are doing right."
Emperor Teddy Obinna - Onye Nchem
Judging by his eighth release Livin' Dey Highlife, available from Akwaaba Music, Amobi Onyenze is capably carrying on the Osadebe legacy, but one hopes that in the future he will strike out into fresh territory rather than continue to till the old man's field. In "Akachukwu di Ya" ("God's Hand"), Oyenze sings, "In everything we do in life we must seek God's hand to make it success. With God's hand our success is guaranteed. Whoever God's hand beholds shall never fall nor fail. God's hand is in my life, in my family. That's why I'm a success."
Onyenze - Akachukwu di Ya
Thanks once again to my wife Priscilla Nwakaego for interpreting these lyrics. The translation of "Akachukwu di Ya" was provided by Akwaaba Music.
Monday, September 28, 2009
Sad as it is for me to report, I think the Igbo highlife sound, at least as we have known it, is dead and buried, the great stylists - Osadebe, Warrior and Oliver de Coque - having passed on in the last few years. In their places have emerged a new crew - Eke Chima, Sunny Bobo and the like - who have numerous fans but offer a synthesizer-and-drum-machine-based style that's just a pale imitation of the classic sound, at least in my humble opinion.
In a future post I'll be discussing some of those new guys, but here I want to talk about some of the lesser-known musicians of the '70s and '80s, just a few of the journeymen who made the Igbo highlife scene of the time so vital and productive. In a way they're equivalent to the "garage bands" of the 1960s in the US, who toiled away in obscurity in hopes of someday scoring a regional hit. In the Nigerian case, some of these musicians put out numerous recordings and were quite popular. They just weren't in the top tier of the Igbo music scene.
One such musician was Owerri-based Douglas Olariche, whose LP Me Soro Ibe (Fontana FTLP 109, 1980) makes inspired use of native xylophone and the Igbo ogene bell. The title track, whose title means "Let the World Let Me Follow My Mates," is basically a series of Igbo proverbs such as "a gift knows who wrapped it" strung together, while "Elele" sings the praises of various individuals such as a man who makes his living in the transport business and the Owerri highlife band the Imo Brothers:
Douglas Olariche & his International Guitar Band - Me Soro Ibe
Douglas Olariche & his International Guitar Band - Elele
Also of Owerri, the guitarist Joakin followed a similar career trajectory, scoring a number of regional hits in the mid '80s. In "Nwagbeye Ebezina," from the album of the same name (Sann SR 13, 1984), he sings "poor man's son, do not cry." The chorus is "nobody comes into this world with wealth." "Chikereuwu Buonye Ogbubbonjo," from the same LP, means "God the Creator is the Preventer of All Evils." Joakin calls on God to prevent evil. He also asks God to reveal what will happen to him:
Joakin & his Royal Guitar Band - Nwagbeye Ebezina
Joakin & his Royal Guitar Band - Chikereuwa Buonye Ogbugbonjo
Ibealaoke Chukwukeziri's Anti Concord/Apama (Nigerphone NXLP 011, 1988) was one of the outstanding highlife releases of the '80s, combining traditional Igbo percussion and agile guitar work. The song "Anti Concord" is actually about Aunty Concord, the singer's betrothed, whom he questions about her sincerity. He asks, "you can see that I have many new cars and a great mansion. Is it me you love, or my wealth?" He goes on to sing that some women are like a beautiful present that a man takes home, only to find snakes and scorpions inside:
Ibealaoke Chukwukeziri & his "Anaedonu" - Anti Concord
"Nara Ndomadu Chukwu" ("Accept God's Advice") tells the story of a young man named Augustine, a trader who has the opportunity to go abroad to buy goods to sell. He asks a prophetess at his local church for advice, who tells him not to go, then he asks a prophet, who tells him the same thing. He then goes to a traditional healer, who tells him to go abroad, but asks 1000 Naira for his advice. Augustine goes abroad and buys his goods, but when he comes home the Customs service check his parcels and find only newspapers inside. Augustine has lost all of his money. Now he sits in the village shooting small animals with a slingshot:
Ibealaoke Chukwukeziri & his "Anaedonu" - Nara Ndomadu Chukwu
Finally we listen to Elvis Nzebude of Amagu, Anambra State. In "Ije Awele" ("Good Journey"), from the album of the same name (Rogers All Stars RASLPS 124, 1992), Elvis sings, "Ganiru, ganiru ("go forward"), we go where there is love, we go where there is peace, we go where there is respect. Because where there is respect there is peace. Let no one wish others death. Let everyone live."
Elvis Nzebude & his Metalic Sound - Ije Awele
Many thanks to my wife Priscilla for her interpretation of these lyrics.
Saturday, August 29, 2009
Saturday, August 8, 2009
Uncle Mike was not a well-known musician. He is remembered mainly for his stellar piano work on Nelly Uchendu's famous LP Love Nwantinti (Homzy HCE 005, 1976), and the great irony of this achievement is that the album was originally credited to Obianwu himself, with Uchendu playing only a supporting role. After Uchendu's acclaimed debut at FESTAC '77 in Lagos, the album was reissued with a new cover credited to "Nelly Uchendu and Mike Obianwu." Anthony tells me that his father released one other album in his own name, Crashes in Love, and I suspect he was present on other recordings as well. The other members of his band were Bassey Edim on bass and Willie Udor on drums, with Nelly Uchendu supplying vocals until her death in 2005.
Let's take a moment to remember Uncle Mike and the many other unsung heroes of African music. Here is a touching tribute in his honor by his family:
Ezennia Michael Davidson Obianwu, God saw you getting tired as your youthfulness turned gray. The days flew by as you celebrated your well lived 93years of aging memories. You were our ROCK and you will forever live in us, a befitting metaphor is your name OBIANWU. Your name will never die for we your children will carry on your legacy with every breath we draw. Your heart was so beautiful and pure, so meek and gentle, so loving and very forgiving. We became greedy, wishing you could hang around for another 93. We can now see that your every awakening and perseverance, is your way of hanging around to protect your loving family. The Almighty God knew this too, so HE wrapped his arms around you, and whispered, "COME TO ME."Wake will be kept for Mike Obianwu August 15th at 18351 Queen Anne Road, Upper Marlboro, Maryland, 20774, and his final resting place will be Onitsha, Anambra State, Nigeria on August 29. In Uncle Mike's memory let's listen to "Love Nwantinti":
You went through a journey very few can only dream about, you married your beloved wife and our mother Victoria Obianwu on December 26, 1949, and you were both rewarded with beautiful children: Chinwe, (ADA) Obianwu, Okechukwu (Diokpa) Obianwu, Ebelechukwu Obianwu, Nnamdi Obianwu, Anthony Obianwu and the most supporting group of in-laws: Amaechi Mbanefo, Cecilia Obianwu and Chilo Obianwu. Our Daddy Ezennia was also blessed with many grand children: Uchenna Obianwu, Jane Mbanefo, Patrick Mbanefo, George Mbanefo, Ifeoma Mbanefo, Adaobi Obianwu, Osita Obianwu, Nnenna Obianwu, Ebelechukwu Obianwu Jr., Odiakosa Obianwu, and Adaeze Obianwu. Ezennia is also survived by a long chain of brothers and sisters, nieces and nephews, cousins and a sea of friends and well wishers. It goes without saying that you have led a fulfilled life.
After serving proudly, fighting as a soldier in Burma during the 2nd World War with sustained injuries to show for it, you worked at the Federal Ministry of Information in Lagos and retired proudly as a senior civil service worker. Despite all this, your love for music kept shinning through. You played music at famous hotels in Lagos like Gondola and the Federal Palace, including the Presidential and Hotel Metropole in Enugu, Nigeria. You became very famous in music and touched many hearts. Your genius earned you the name "Uncle Mike Obianwu" and you recorded two albums including the award winning folk song "Love Nwantinti". You became one of the respected Agbalanze of Onitsha and was crowned with the title; EZENNIA and for this we salute you.
Daddy, you were truly an accomplished man of God. He only takes the best. This is why He has called you home to give you rest. God's garden must be beautiful, and there must be a beautiful white Grand Piano, waiting for you in heaven, to strike beautiful melodies for God's listening pleasure and for the Angels to dance to. It was no surprise that on the day of your passing, you were jovial as usual and you told us how much you loved us. You then said "Tell 'V' I love her" (meaning Mom) and asked to let you rest. Your Doctor asked if you were ready to be discharged, your answer was "YES, I AM READY TO GO HOME" and home you went, drifting gently like the wind. When we saw you sleeping so peaceful and free from pain, we could not wish you back because the Lord needs you more now than we do.
"For YOUR gift O'LORD, we will rejoice and be glad."
Rest in perfect peace, Good Bye, All Our Love is with you.
On Behalf of All of Your Children,
Chinwe, (ADA) Obianwu, Okechukwu (Diokpa) Obianwu, Ebelechukwu Mbanefo, Nnamdi Obianwu & Anthony Obianwu
Nelly Uchendu & Mike Obianwu - Love Nwantinti/Ada Eze/Onye Nwulu Ozuluike
Sunday, July 26, 2009
Once again our friend Rainer has come through with an exceedingly rare artifact from the golden age of Nigerian highlife music, in this case a 10" pressing of Love "M" Adure Special, from which I posted some tracks June 21. This was apparently the first pressing, released in 1972. Or maybe it wasn't the first pressing! Rainer writes, ". . . the label says AGR002 etc. But the matrix number says (P)1970 and gives a Philips label number 6386004 as a reference (the Dan Satch is from 1969/70 and has 6386008) Why did they write 1972 on the label? Was this supposed to be released on Philips first back in 1970 but saw the light of day in 72 on Akpola!? Or am I just thinking too much?"
Apart from having a different cover and slightly different reference number (AGR 002 rather than AGB 002), this earlier iteration of Love "M" Adure Special, also on Akpola Records of Benin City, differs in several other respects from my copy. For one thing, it has 10 tracks instead of 12. Also, it includes the song "Gowon's Special," which was omitted from the later record, although it was listed on the sleeve. And for what it's worth, it's a much better pressing.
"Gowon's Special" is very interesting in that it marks Lawson's evolution from being a full-throated supporter of Biafran independence in 1968 to singing the praises of Nigerian head of state Yakubu Gowon for "keeping Nigeria one" in 1972. Listen to it here:
Cardinal Rex Lawson & his Rivers Men - Gowon's Special
I won't presume to understand Lawson's motivations for making "Gowon's Special" as well as the earlier "God Bless Colonel Ojukwu."
To help clarify things, here is the recording information for the two pressings of Love "M" Adure Special:
Cardinal Rex Lawson & his Rivers MenOne nice thing about the original 10" LP is that it includes a listing of the musicians and summaries of the lyrics. You can download the whole album as a zipped file here.
Love "M" Adure Special
(10" LP; Akpola AGR 002, 1972)
A1. Love "M" Adure Special
A2. Gowon's Special
A3. Saturday Sop Di
A4. Yellow Sisi
A5. Nkpa Ke Da Owo
B1. Tom Kiri Site
B2. Wasenigbo Tua
B3. Akwa Abasi
B4. Nume Inye (Nume Alabo)
B5. Peri Special Mbanga II
Cardinal Rex Lawson & his Rivers Men
Love "M" Adure Special
(12"LP; Akpola AGB 002, 197?)
A1. Jolly Papa Special
A2. Love "M" Adure Special
A3. Saturday Sop Di
A4. Yellow Sisi
A5. Abasi Ye Enye
A6. Nkpake Da Owo
B1. Tom Kiri Site
B2. Wasenigbo Tua
B3. Ese Ayang Iso
B4. Akwa Abasi
B5. Nume Inye
B6. Peri Special
In the comments there's been a side discussion on the question of whether records were actually pressed in Biafra during the war. I thought it was possible, even though all of the major pressing facilities were in the North and West before the war (Nigerphone may have had a plant in Onitsha). After thinking it over, and consulting the map below (click to enlarge) from John de St. Jorre's The Nigerian Civil War (Hodder & Stoughten, 1972), this seems most unlikely.
As the map shows, by October of 1968 the territory under Biafran government control had been reduced to about one sixth of what it was at Independence, and didn't include any of the major cities (Onitsha fell in March of 1968). Although the margins of the Biafran enclave changed slightly over the course of the conflict, this is where things stood until the last months before the war ended in January 1970. Therefore, any "Biafran records" would have to have been pressed outside of the country and smuggled in.
Sunday, July 12, 2009
Note: This post was updated on October 4, 2009.
My post "Divided Loyalties" inspired an anonymous reader to make available an intriguing souvenir of the Biafran independence struggle. First Independence Anniversary Special, a 45, was issued in 1968 by the Biafra Association in the Americas, Inc. under the reference number XB-439/XB-440. The A side is "A Nation is Born," a previously-unknown-to-me song by highlife master Celestine Ukwu, while the flip side is the song "God Bless Colonel Ojukwu" by Rex Lawson, which I featured in that earlier post under the title "Odumegwu Ojukwu (Hail Biafra)."
Anonymous poses an interesting question: While First Independence Anniversary Special was obviously pressed in the United States, were records pressed in Biafra during the war? I do know that music by Ukwu and other musicians was recorded and broadcast on Radio Biafra during the conflict, but I'm not aware of any record-pressing facilities in Biafra at the time. Of course, there is always the possibility that records were pressed abroad and smuggled into the Biafran enclave, a fraught task. Could someone shed some light on this matter for us?
Courtesy of Anonymous, here is Celestine Ukwu:
Celestine Ukwu - A Nation is Born
For some time I've been trying to get hold of another record released in the US during the war, Igba na Egwu Ndi Biafra Ji na Anu Agha: Drums and Chants of Fighting Biafra (Afro Request SRLP 5030) by the mysterious "Biafran Freedom Fighters." If anyone out there has a copy, I'm sure we'd all love to hear it.
I have an LP which was apparently put out by the same people who issued First Independence Anniversary Special. This is Biafra (Biafra Students Association in the Americas XB-149/XB-150) features an instrumental, "Hail Biafra" (the Biafran national anthem?) and a speech by Odumegwu Ojukwu on Side 1, and seven musical selections on Side 2. Unfortunately, while the song titles are given, the artists aren't credited.
I'm posting the contents of This is Biafra. "Hail Biafra" is not especially notable and the Ojukwu speech is more of a historical document, but the other tracks should be of interest to Likembe reader/listeners. I have identified "Onwu Zuri Uwa" and "So Ala Temen" as by Rex Lawson. "A Tit for Tat" is by Area Scatter, and "Onye Nwe Uwa" is by the Nkwa Wu Ite Dance Group of Afikpo (thanks to Anonymous & Vitus Jon Laurence for identifying those two). Perhaps someone could identify the other musicians:
The Struggle for Survival: H.E. Lt. Colonel Odumegwu Ojukwu, Governor of Biafra (November 24, 1967)
Cardinal Rex Lawson - Onwu Zuru Uwa (There's Death Everywhere)
Unknown Artists - Nkponam Isuhoke Owo (Misfortune Never Discriminates)
Nkwa Wu Ite Dance Group of Afikpo - Onye Nwe Uwa (Who Owns the World?)
Cardinal Rex Lawson - So Ala Temen (Nature Bestows Riches)
Area Scatter - A Tit for Tat
Unknown Artists - Akpasak Ibok, Idiok Udono (Vice is a Terrible Disease)
Unknown Artists - Thou Shalt Not Kill
I've written about the Biafran situation in previous posts, and I would recommend John de St. Jorre's The Nigerian Civil War (Hodder & Stoughton, 1972), long out of print, as an even-handed and detailed account of the conflict. This article from Wikipedia is also useful. I would say at the risk of sparking a controversy that I think the Biafran cause was a noble one, and had it succeeded, would have changed the course of African history in a positive direction. But I'm afraid Biafra's historical moment has come and gone; whatever the future of Africa has in store, an independent Biafran state will probably not be part of it.
Download This is Biafra as a zipped file here.
Sunday, June 21, 2009
The recent dénouement of the 25-year Tamil insurgency in Sri Lanka was reminiscent in many ways of the end of the Biafran war in Nigeria in January of 1970: both of them were hard-fought popular rebellions that collapsed very suddenly. In both cases the human and economic cost was horrendous.
In its time Biafra was a cause that engaged people the world over in support of its beleaguered people. The proximate reason for the start of the war was a series of pogroms across Northern Nigeria in 1966 directed at natives of the Eastern region of the country, mainly Igbos. In response, Eastern Nigeria, under the leadership of Chukwuemeka Odumegwu Ojukwu, seceded as the Republic of Biafra on May 30, 1967.
Sometime during the course of the war, Nigerian highlife star Cardinal Rex Jim Lawson recorded his song "Odumegwu Ojukwu," commonly known as "Hail Biafra." I'm told that this was released on Onitsha's Nigerphone label, although I have no more information about it. Given its controversial nature, it's not surprising that "Hail Biafra" was more or less banned in the post-war years, and was not on any of Lawson's five "official" Nigerian LPs. The song came to light again in the late 1990s when it was released as part of a compilation entitled Rex Lawson Uncensored: Hail Biafra (Mossiac MMCD 1036).
"Odumegwu Ojukwu" is apparently in Ijaw, so I can't give an exact translation of the lyrics, but in spoken English comments toward the end, Lawson clearly indicates his support for Biafra's Head of State. These sentiments are said to have earned his detention by Federal troops, to whom he is said to have told that he recorded the song "to uplift the rebels." Here's the song:
Rex Lawson - Odumegwu Ojukwu (Hail Biafra)
More interestingly, sometime later Lawson recorded a song in tribute to Isaac Jasper Adaka Boro, who not only had led an earlier separatist rebellion in the Niger Delta (the so-called "Twelve-Day Revolution") but died fighting on the Federal side against the Biafran separatists. Boro was an ardent defender of the interests of his Ijaw people, and by some accounts his sentiments toward the Igbo (who predominated in Biafra) were chauvinistic bordering on racist. Such are the dynamics of ethnic politics in southeastern Nigeria! "Major Boro's Sound" was included on the album Rex Lawson's Victories Vol. 2 (Akpola AGB 003) and is also featured on Rex Lawson Uncensored: Hail Biafra:
Rex Lawson - Major Boro's Sound
If there was one thing Rex Lawson wasn't, it was a narrow-minded tribalist. A true cosmopolitan, he had an Ijaw father and and Igbo mother, and his Majors Band (later The Rivers Men) included musicians from various ethnicities. He sang in all of the languages of southeastern Nigeria. Some years ago a fellow named Ofon M. Samson emailed me with English-language summaries of some of the songs on Lawson's LP Love "M" Adure Special (Akpola AGB 002, below). I believe the original songs were all in Efik. In the first of these, "Saturday Sop Di," Lawson sings that he wants Saturday to hurry up and arrive:
Cardinal Rex Lawson & his Rivers Men - Saturday Sop Di
"Abasi Ye Enye" was supposedly written after Lawson had lost a child. He sings, "Whoever killed my child, God will see him or her":
Cardinal Rex Lawson & his Rivers Men - Abasi Ye Enye
"Tom Kiri Site" means "The World is Bad":
Cardinal Rex Lawson & his Rivers Men - Tom Kiri Site
"Ese Ayang Iso" is about a leper, about whom Lawson sings, "ese Ayang iso, kuse ikpat," meaning "look at Ayang's face not her feet because she has a disease":
Cardinal Rex Lawson & his Rivers Men - Ese Ayang Iso
"Akwa Abasi" means "Almighty God." Lawson quotes John 3:16, ". . .For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life."
Cardinal Rex Lawson & his Rivers Men - Akwa Abasi
In "Nkpa Ke Da Owo," Lawson sings about death taking someone away. During the break one of the band members asks, "Death why have you taken our master? Who is going to lead us?." A prescient question, given that Lawson would die in 1971:
Cardinal Rex Lawson & his Rivers Men - Nkpa Ke Da Owo
Wednesday, March 11, 2009
There's been a lot of good jùjú on the Internets lately - from Comb & Razor here and here, Worldservice here and here, and at Snap, Crackle & Pop here - so I figured why shouldn't I get into the act? Besides, it's been a while since I posted some good old Yoruba Soul Music.
I can tell you very little about Ade Wesco and his Destiny Dandies. Wesco rates a brief entry in Ronnie Graham's The World of African Music (Pluto Press/Research Associates, 1992) where his sound is described as ". . . highlife enriched with traditional percussion and distinctly Yoruba vocals." The label of his LP Aye Wa Adun (Ibukun Orisun Iye MOLPS 35, 1976) describes the contents as "jùjú," and judging by that album at least (the only one by him I've heard, although he released a number of others) his music is a true synthesis of the two styles, much like that of Orlando Owoh.
Be that as it may, you can decide for yourself. Here's the album in full. It's fine, fine stuff:
Ade Wesco & his Destiny Dandies - Aye Wa Adun/Adun ni Gbehin Ewuro/Ibukun Orisun Iye/Tiwa ni Tiwa
Ade Wesco & his Destiny Dandies - Ogo ni Fun Baba Loke/Irawo Wa Ntan Loke/A Dupe Baba Wa/Bayi Loda/Amariran Wo/Oniyeye
Tuesday, January 27, 2009
As I wrote in "The Anioma Sound Pt. 1," the Anioma region comprises the Igbo-speaking areas of Delta State in Nigeria. The name is a actually an acronym derived from the regions of Aniocha, Ndokwa, Ika and Oshimili, and was coined by the late Dennis Chukude Osadebay, one of the founders of the National Council of Nigeria and the Cameroons, and former premier of the old Mid-Western Region of Nigeria.
Continuing our look at the music of this area, we start off with a couple of old-timers of the Anioma scene, ending up with some newer artists.
Ndokwa native Charles Iwuegbe may be familiar to those who have heard the wonderful compilation Azagas & Archibogs: The Sixties Sound of Lagos Highlife (Original Music OMCD 014, 1991), now sadly out of print. As that title implies, he was a stalwart of the pre-Biafra highlife scene in Lagos, when musicians of all ethnicities kept the night alive with their wildly inventive sounds. I give my thanks to Anioma music fanatic "Ubulujaja," who passes on this classic tune, "Ejelunor," from Iwuegbe's LP of the same name (Decca West Africa DWAPS 04), as well as Eddy Okonta's "Anioma" in "The Anioma Sound Pt. 1."
Charle Iwuegbe & his Hino Sound - Ejelunor
Perhaps you remember St. Augustine from my posting of Rusted Highlife Vol. 1. Hailing from Asaba, his career took off in 1971 with the release of "Ashawo No Be Work." From a bit later in his career, namely the early '80s, here's a track from Anioma Special (Offune OFLPS 1):
St. Augustine - Evidence Special
As I promised in this post, I've got another tune for you from Aboh's incomparable Ali Chukwuma. Here's the title track from 1982's Ife Oma Dimma (Akpolla AGB 50):
Ali Chukwuma & his Peace-Makers International Band of Nigeria - Ife Oma Dimma
Guitarist Bob Fred shows up in all manner of recordings by Anioma artists, notably those of Rogana Ottah, but he's made a number of LPs on his own with his Ukwuani Brothers Band. Here's a cut from the album Egwu Amala Special (Ojikutu OJILP 032, 1982):
Bob Fred & Ukwuani Brothers Band - Ochinti
About the Mmadu Osa International Band, led by Ikechukwu Izuegbu, I know absolutely nothing, but they put out a number of LPs back in the '80s. "Ele Onye Keni" is taken from their 1983 outing Aboh Youth Progressive Union (Izuson IZULP 006)":
Mmadu Osa International Band - Ele Onye Keni
I've saved the best for last! I've heard a rumor, which I've been unable to confirm, that Rogana Ottah (picture at the top of this post) passed away a couple of years ago. What a shame that would be, as he's been the primo exemplar of the Anioma music scene. As I wrote in the introduction to my discography of him, ". . . Guitarist Isaac Rogana Ottah, 'The Oshio Super King,' a prolific artist from Akoku, Ndokwa LGA, Delta State, is one of the better-known Anioma musicians. His musical career began in the early 1970s when he played in the bands of Chief Stephen Osita Osadebe and Rex Lawson. In 1973 he joined fellow Ndokwa native Charles Iwegbue and His Hino Sound Band. Striking out on his own after Iwegbue's tragic death in 1976, Ottah scored a major hit with his first LP, Ukwani Special, in 1977. In quick succession a series of outstanding recordings, notably the 'Oshio Super series, propelled Ottah to the vanguard of the Anioma recording scene. Although his career has slowed since the 1980s, he still makes a prosperous livelihood as a touring musician and continues to make recordings. "
"Onyeluni Isu Ogaga," from the 1981 LP Oshio Super Two "Onyeloni" (Odec ODEC 003) is an absolute scorcher that showcases Ottah's brilliant guitar work to great effect.
Rogana Ottah & his Black Heroes - Onyeluni Isu Ogaga
I hope to provide translations of the lyrics of these songs in the future.